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Eric Voegelin, Giorgio de Santillana, John William Corrington, Martin Heidegger, Meaning, Science, Space

John William Corrington on Science, Symbol, and Meaning

In American History, American Literature, Arts & Letters, Essays, History, Humanities, John William Corrington, liberal arts, Literary Theory & Criticism, Literature, Philosophy, Scholarship, Western Civilization, Western Philosophy, Writing on November 28, 2018 at 6:45 am

John William Corrington’s essay “Science, Symbol, and Meaning” (1983) is archived at Centenary College as “Houston Talk.” It was the opening address at the Second Annual Space Industrialization Conference of the National Space Society in Houston, Texas. It has been included in my recent edition of Corrington’s work, which is available for purchase by clicking on this image:

The subject of “Science, Symbol, and Meaning” is man’s exploration of outer space and the potential physical instantiation of certain theories about the structure of the cosmos. Corrington sets out to “reconstruct” Western culture, first by defining and describing it and then by diagnosing what he calls its “deformity,” which involves confusion regarding the differences between mythical and scientic modes of knowing.

This essay uses the subject of space exploration as a starting point for recommending remedies to this so-called deformity. Corrington purports to derive his thesis about time and cosmic order from Eric Voegelin, Martin Heidegger, and Giorgio de Santillana. He critiques the “illusion” that scientific thinking displaced mythopoetic thinking in the West because, he says, theological and symbolic thinking has been used to make sense of the data that has been objectively arrived at and disinterestedly gathered. This illusion will no longer stand, Corrington suggests, as the expanse of space becomes more intimately known to us and we begin to acknowledge the role that myth plays in ordering our experience within the observable cosmos.

Rationalism and empiricism are, Corrington suggests, themselves forms of myth about our ability to know the cosmos that we occupy.

Corrington emphasizes the limits of human knowledge and submits that modern science is, however useful, myth; science, he says, is not “co-extensive with the manifold of reality.” Science equips us with symbols that can be manipulated to structure and explain our thinking about the phenomenal universe.

The drive for the enterprise of space exploration, in his view, represents a repressed desire to know and order our experience; it is in this sense a structural element of our psyche, something that is not new to modernity but long felt and expressed. For this reason Corrington believes the “leap into space is the heritage and destiny of Western Man.” Corrington’s prescription, in light of his comments on space exploration, for the “deformity” in Western thinking is as follows:

We must re-learn and carry to the heart the old verities that existed before the rise of metaphysics and science, the truths that were carried on and carried down through the mythological structure of the psyche: the unity of humanity and the cosmos, the illusory and ephemeral quality of the ego, the one law common to all that penetrates and encompasses the fine structure and the gross structure of reality.

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Henry Hazlitt, Literary Critic

In American History, Arts & Letters, Austrian Economics, Book Reviews, Creative Writing, Creativity, Economics, Essays, Ethics, Fiction, History, Humane Economy, Humanities, Liberalism, Libertarianism, Literary Theory & Criticism, Literature, Philosophy, Politics, Western Civilization, Western Philosophy, Writing on March 20, 2012 at 9:05 am

The following appeared here at Prometheus Unbound and here at Mises.org.

Remembered mostly for his contributions to economics, including his pithy and still-timely classic Economics in One Lesson (1946), Henry Hazlitt was a man who wore many hats. He was a public intellectual and the author or editor of some 28 books, one of which was a novel, The Great Idea (1961) — published in Britain and later republished in the United States as Time Will Run Back (1966) — and another of which, The Anatomy of Criticism (1933), was a trialogue on literary criticism. (Hazlitt’s book came out 24 years before Northrop Frye published a book of criticism under the same title.) Great-great-grandnephew to British essayist William Hazlitt, the boy Henry wanted to become like the eminent pragmatist and philosopher-psychologist William James, who was known for his charming turns of phrase and literary sparkle. Relative poverty would prevent Hazlitt’s becoming the next James. But the man Hazlitt forged his own path, one that established his reputation as an influential man of letters.

In part because of his longstanding support for free-market economics, scholars of literature have overlooked Hazlitt’s literary criticism; and Austrian economists — perhaps for lack of interest, perhaps for other reasons — have done little to restore Hazlitt’s place among the pantheon of 20th century literary critics. Yet Hazlitt deserves that honor.

He may not have been a Viktor Shklovsky, Roman Jakobson, Cleanth Brooks, William K. Wimsatt, John Crowe Ransom, Allen Tate, Lionel Trilling, Dwight Macdonald, or Kenneth Burke, but Hazlitt’s criticism is valuable in negative terms: he offers a corrective to much that is wrong with literary criticism, both then and now. His positive contributions to literary criticism seem slight when compared to those of the figures named in the previous sentence. But Hazlitt is striking in his ability to anticipate problems with contemporary criticism, especially the tendency to judge authors by their identity. Hazlitt’s contributions to literary criticism were not many, but they were entertaining and erudite, rivaling as they did the literary fashions of the day and packing as much material into a few works as other critics packed into their entire oeuvres. Read the rest of this entry »